November 26, 2018

Album Review/Dominic Valvona

As the title alludes, this is a rebirth; a new incarnation and phase in fact of the legendary acid-rock psychedelic transcendental freak out that is now in its 23rd year of cosmic operations. Founding instigators Kawabata Makoto and HigashiHiroshi have in recent years welcomed a new intake of worthy disciples; adding vocalist and ‘midnight whistler’ Jyonson Tso, drummer from ‘another dimension’ Satoshimi Nani and the bassist, known only as, Wolf to its ranks. Their first task it seems is refreshing and transforming previous sonic stunners and rituals from the extensive Acid Mothers Temple & The Melting Paraiso U.F.O. back catalogue; part of an on-going repackage of the iconic troupe’s music that has recently seen, for the first time, a cassette tape release of both the In C and La Novia opuses by Kamikaze Tapes. Coinciding with a recent European tour, the Osaka outfits sprawling Reverse Of Rebirth In Universe album essentially breaks-in a new generation of collaborators.

Krautrock replicates, bowing in reverence at the temple gates of their German inspirations, but also carrying on the lineage of their native country’s own experimental doyens (groups like Les Rallizes Dénudés and the Far East Family Band), the Acid Mothers have carried the torch for acid-rock, the avant-garde and progressive when forbearers and contemporaries have faded or disbanded. Relighting the flame and going even more ‘cosmic’ (if that was even possible) the new recruits breath life once more into a trio (quartet if you have the bonus track version, which I’m reviewing) of moonage daydreams, Tibetan new age fantasies and wild psychedelic improvisations.

Transducing the entire Yeti and Wolf City Nepal esotericism and hippie magic of Amon Düül II into one monumentous caravan procession, the album’s opening epic anthem, ‘Dark Star Blues’, showcases the Acid Mothers signature occult cosmology. All at once hypnotizing, doom-y, melodious, trudging and noodling this far-out blues trip free falls into a wrestling guitar manic jazz jam after ten minutes of Byzantium universe soul-searching to reach a certain nirvana state of enlightenment. By contrast, though still untethered to earthy realms, ‘Blue VelvetBlues’ (about as far away from the blues genre that you can get) mixes tremolo Western echoes with the pining aching and waning guitar work of Ash Ra Temple and what sounds like Grace Slick yearning over a drowsy drum beat. Talking of vocals, the motorik driving ‘Black Summer Song’, sounds like a holy union of Nico and Damo Suzuki; ethereal and hauntingly wooing over a FutureDays period Can meets Klaus Dinger’s Japandorf project backing.

The bonus, ‘Flying Teapot’, if you haven’t had the aural pleasure yet, leans more towards Embryo and Agitation Free; a progressive, acid-jazzy warp factor ten freeform trip of stargazing and druggy indulgence: A perfect finish in my book.

In a sprawling swirl of grooves and flailing, wilding display of guitar experimentation and oscillations, the Acid Mothers, boosted by the ‘next generation’, reinforce their reputation as one of the most out-there, influential and dynamic forces in cosmic rock. With a back catalogue that constantly keeps evolving they manage to push further and beyond the band’s past triumphs and freak-outs to deliver something energetically and dynamically refreshing. Here’s to the next phase in the Acid Mothers legacy; one that seems to show a promising glowing future of possibility.